Aventuras em Hollywood

It's more like "Blackie Goes to a Hotel in Los Angeles", rather than Blackie Goes Hollywood. Didn't get much of a Hollywood impression from this film. The pace is fast, it is a well edited movie, but the script here is just not quite up to the usual high "Blackie" quality. Also, some of the physical stuff (in and out of doorways, up and down stairs, etc.) is directed rather poorly, but is performed with a lot of energy and verve by the cast.

Chester Morris is watchable with his usual good acting as Blackie. Richard Lane and Walter Sande do a great job as the bumbling police. Constance Worth is attractively untrustworthy as the girl involved.

The ensemble cast keeps this watchable and it moves along briskly, overcoming the weak script.

This has got to be one of the weaker entries in the "Boston Blackie" series with CHESTER MORRIS and GEORGE E. STONE on the lam from Inspector Farraday and his Keystone Cops who are hot on their trail because they think Blackie can lead them to a missing diamond.

The gag with "The Runt" playing a boy genius is rather unfunny and totally implausible, but the film aims for light-hearted touches throughout, only occasionally succeeding. LLOYD CORRIGAN is Blackie's friend being held hostage by a band of crooks, including FORREST TUCKER in a minor role.

RICHARD LANE is again Inspector Farraday, but it's the same old business of him getting thrown for a loop by Blackie's wild schemes to throw him off guard. Nothing new here and none of it is more than routine formula stuff. Furthermore, the title is misleading if you expect the story to take place anywhere near Sunset Blvd.

Still, Chester Morris fans should get a kick out of his "Blackie" role.

Lloyd Corrigan gets himself in trouble in Los Angeles. He asks Chester Morris to bring him $60,000 from his wall safe. Morris cracks it easily enough, but inspector Richard Lane and his stooge, Walter Sande, sees him doing it. They arrest Morris and stooge George E. Stone, who escape, and then the two pairs of men play tag with each other to LA. There they discover Corrigan is being hoodwinked by a bunch of crooks who are ready to double-cross each other.

Michael Gordon's first feature as director is by no means a classic. However, with a script filled with funny incidents, fast pacing, performers who understand comedy, and characters smart enough to get the drop on the others on occasion, the stern chase is a long one, but a funny one. Some of the players are rather wasted in the haste to get from one gag to the next, but in the end, virtue, such as it is, is triumphant, the good guys win, and the bad guys are hauled offstage in handcuffs. Which is what we come for.

Turner Classic Movies just recently showed most of the Boston Blackie films starring Chester Morris and while they are pretty good B-detective films, they are also very, very formulaic--even for the genre. I practically saw all of these movies and noticed that the same stupid inspector and his subhuman sidekick are accusing Blackie of committing the crimes in question. And, each time, Bost Blackie solves the crime for them--making their idiocy apparent again and again and again. You'd think that these bumblers would be fired and that any cop with a functioning cortex would realize the best thing to do it just sit back and let Blackie solve the crime! Plus, in the process, the Inspector almost always gets himself captured or is tricked by Blackie. At first, this is all pretty funny, but by the time this film came out, the formula was wearing a bit thin. They could have easily kept most of the formula but also had the cops not always been so stupid--this would have greatly improved the films.

About the only new thing about this film is that now in addition to the idiotic cops, Blackie has a rich friend who is introduced to the series and he manages to be even dumber than the police!! While it would have been easy for even a two year-old to figure out what was happening, this Neanderthal was clueless--making the film itself seem pretty lame in spots. Still, the snappy dialog and able support by Blackie's buddy, Runt, is pretty good and make this film an amiable time-passer--just don't expect anything particularly new or interesting except for appearances by very young actors Forrest Tucker and Lloyd Bridges.

"Boston Blackie Goes Hollywood" is another entry into the 14-film BB series. Boston Blackie doesn't exactly go Hollywood; I guess the producers wanted a snazzy name. These series - Blackie, The Saint, The Falcon, Nick Carter all follow a formula - the hero is an amateur detective, a smooth fellow who has flirted with the dark side of the law who usually has a sidekick and always has an officer of the law either angry with him or after him.

This time Blackie is in trouble with the law - as usual - because as an ex-jewel thief, he comes under suspicion every time there's a heist. This time it's the Monterey diamond, even though Blackie is in New York.

Then his good friend Arthur Manleder (Lloyd Corrigan) calls from Los Angeles, and he's in trouble and in need of $60,000 out of his safe. Of course the police enter Manleder's apartment just as Blackie is making a large withdrawal from said safe. The Boston Blackie police are completely moronic so Blackie and his short friend Runt (George E. Stone) are always able to get away, often in diabolically funny ways. This time is no different.

What distinguishes these various series is the personality of the actors, which makes telling The Falcon and The Saint apart since George Sanders played both. Boston Blackie is the most amusing, starring the personable and well-tailored Chester Morris. The scripts have very witty dialogue - better than the others, in my opinion - and it's delivered well by Morris who has grace and cool under fire.

I find these movies very enjoyable. Look for a young Forrest Tucker and also Lloyd Bridges, who has a small role.